the michèle asprey collection of australian

Transcription

MG003
926–930 High Street
Armadale, Victoria 3143
03 9508 8888
www.mossgreen.com.au
THE MICHÈLE
ASPREY COLLECTION
OF AUSTRALIAN
CONTEMPORARY ART
Melbourne, Sunday, 10 November 2013
MOSSGREEN BOARD OF DIRECTORS
Jack Gringlas
Charles Leski
Paul Sumner
926–930 High Street, Armadale,
Victoria Australia 3143
t +61 3 9508 8888
f +61 3 9508 8899
Single owner auction specialists
e [email protected]
w www.mossgreen.com.au
Single owner auction specialists
THE MICHÈLE
ASPREY COLLECTION
OF AUSTRALIAN
CONTEMPORARY ART
MELBOURNE, SUNDAY, 10 NOVEMBER 2013
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AUCTIONS
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† GST on HAMMER, meaning this GST added onto not just the Buyers
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PAYMENT & COLLECTION
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Viewing, Auction & Collections
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OAD
Viewing times
Viewing & Auction location
Auction
Friday 8 November 10.00am–5.00pm
Saturday 9 November 10.00am–5.00pm
Sunday 10 November 10.00am–2.00pm
Mossgreen Auctions
Sunday, 10 November 2013
Time: 4.00pm
Permits
Important Notice
GST
Payments & Collection
Telephone/Absentee Bids
Under the protection of the Movable
Cultural Heritage Act 1986, buyers may
be required to obtain an export permit
for certain categories of items in this sale,
from the Movable Cultural Heritage unit,
Identification and Conservation Branch,
Environment Australia, GPO Box 787,
Canberra, ACT, 2601.
Some imagery of Aboriginal Art and
artefacts in this catalogue may be of a
secret nature and it is suggested that
officials in Aboriginal communities
preview the catalogue with community
elders for approval before circulating it to
the general community.
In cases where the vendor is selling
property owned by an entity registered
for GST, Mossgreen will charge GST on
the hammer price in addition. This is
denoted by a dagger symbol placed next
to the estimate †
Payments & Collections can be made at:
926–930 High Street, Armadale, VIC 3143
Please complete the Telephone or
Absentee bid form/s at the end of this
catalogue and fax to Mossgreen Auctions
on 03 9508 8899. Bids must be received
24 hours prior to the commencement of
the auction.
Also, buyers may be required under the
provisions of the wildlife and protection
‘Regulation of Exports and Imports’ Act
of 1992, to obtain an export permit for
certain categories of items in this auction
such as ivory or tortoiseshell. These
permits are to be obtained from the
Wildlife Protection Section, Environment
Australia – Biodiversity Group, prior to
the purchase of items being exported
from Australia.
Buyer’s Premium
A buyer’s premium of 22% applies to all
purchases. GST is applicable to the buyer’s
premium only, unless indicated otherwise
by the symbol †
Resale Royalty Scheme
Lots subject to payment of the Artists
Resale Royalty Scheme will be denoted
by the symbol §. The Australian Resale
Royalty is a flat rate of 5% on the hammer
price (including GST). The Australian
Resale Royalty is payable by the buyer
in addition to the buyer’s premium plus
applicable GST.
Monday 11 November
10am–5pm
Tuesday 12 November
10am–5pm
Wednesday 13 November 10am–5pm
All goods must be collected and paid for
before 5pm on Wednesday 13 November
to avoid removal and storage charges.
All payments must be made in Australian
dollars. Credit cards will be accepted in
person only with a surcharge of 2.2%
(inc GST) for Visa and Mastercard and
3.3% (inc GST) for American Express.
Please refer to the payment form at the
back of this catalogue for further details.
Personal company and bank cheques are
not accepted.
Registration
To register to buy, all potential purchasers
not known to Mossgreen will be asked
to provide an accredited form of photo
identification.
Removalists
Mossgreen Auctions will have local,
interstate art & international freight
agents available to arrange deliveries.
Quotes available on request.
International Buyers
International buyers not previously
registered with Mossgreen will be
required to transfer a AUD$500 deposit
in cleared funds to Mossgreen Auctions
account in order to be able to bid at this
auction. These funds must be cleared in
Mossgreen Auctions account 24 hours
prior to the Auctions start. For bank
account details please see Payment Form
at the end of this catalogue.
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PATRICIA PICCININI
(BORN 1965)
PATRICIA PICCININI
(BORN 1965)
1:00:613.3, from the series Sheen
(1998)
C type photograph
edition 10/60
signed and dated 1999 lower
right
image size approx. 120cm high x
240cm wide
Desert Riders, Mountain, from
the series Desert Riders (2000)
type C photograph
edition 3/30
signed, dated and numbered to
margin
80cm high x 80cm wide
Provenance
Tolarno Galleries, Melbourne
Exhibited
Art Gallery of New South Wales
6/9/00-9/11/01
$7,000–10,000
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THE MICHÈLEASPREY
COLLECTIONOF AUSTRALIAN
CONTEMPORARY ART
I love contemporary art for its intellectual content and
its mystery. Every piece I have collected has these two
qualities. And they are beautiful. Some of the beauty
is obvious, and some less obvious, at least initially.
The beauty must be such that it endures – or even
changes – over the years as I live with the works.
Finally, as stipulated by my collection’s curator,
my great friend Amanda Love, each piece in
the collection must be “museum quality”.
Michèle Asprey, Sydney
Born in Sierra Leone in 1965, Patricia
Piccinini arrived in Australia with
her family at the age of seven.
Since graduating from the Victorian
College of the Arts in 1991, her work
has been widely exhibited nationally
internationally and in 2003 she
represented Australia at the 50th
Venice Biennale.
Piccinini works in a variety of media,
including painting, sculpture, video,
sound, installation and digital
prints. Specific works have explored
concerns about modern science,
biotechnology, such as genetic
engineering and ongoing research
to map the human genome. She is
also fascinated by the mechanisms of
consumer culture.
She lives and works in Melbourne
and is widely recognised as one of
Australia’s leading contemporary
artists.
The five still images from the series
Sheen, titled 1:00.613 , depict a
fictional character, ‘The Speeder’,
personifying velocity, within a virtual
velodrome. ‘The Speeder’ is played
by Shane Kelly, a world champion
cyclist and world record holder
for the men’s 1000m sprint 1995,
1996 and 1997. In the present image
(1:00.613.3), the ‘The Speeder’ hangs
in a strange pictorial suspension,
creating uncertainty as to just how he
is moving, or indeed if he is moving
at all.
Provenance
Roslyn Oxley9 Gallery, Sydney
Exhibited
19/1/00-5/2/00
$2,000–3,000
Patricia Piccinini ‘s photographs
from 2000 Desert Riders, Mountain
2000 and Desert Riders, Plain 2000,
and Waiting for Jennifer, Restless,
and 36 Degrees on the 14th are
featured in the book ‘Call of the
Wild’ by Museum of Contemporary
Art, Sydney, curator Rachel Kent.
The photographs 1:00:613.3, Desert
Riders, Mountain and Waiting
for Jennifer are featured in the
book ‘Atmosphere/ Autosphere/
Biosphere: Works by Patricia
Piccinini’, in the essay Autosphere,
by Hiroo Yamagata.
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PATRICIA PICCININI
(BORN 1965)
Desert Riders, Plain, from the
series Desert Riders (2000)
type C photograph
edition 3/30
signed, dated and numbered to
margin
Provenance
Exhibited
19/1/00-5/2/00
$2,000–3,000
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PATRICIA PICCININI
(BORN 1965)
Blue Portrait, from the series
Protein Lattice (1997)
type C photograph
edition 4/6
signed, dated and numbered
to margin
Provenance
Exhibited
1997
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PATRICIA PICCININI
(BORN 1965)
PATRICIA PICCININI
(BORN 1965)
Waiting for Jennifer, from the
series SO2 (2000)
type C photograph
edition 10/60
to margin
36 degrees on the 14th , from
the series SO2 (2000)
type C colour photograph
edition 10/60
to margin
Provenance
Provenance
$2,000–3,000
$1,500–3,000
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PATRICIA PICCININI
(BORN 1965)
Restless, from the series SO2
(2000)
type C colour photograph
edition 10/60
to margin
Provenance
$2,000–3,000
Artist Statement for the Series
S02, 2000
The scientific name for the Siren
Mole (SO2) is Excellocephala
Parthenopa. Excellocephala
means ‘extremely strange head’,
a reference to the animal’s almost
impossibly long and heavy,
shovel-like snout. Parthenopa
refers to the mythical tale of
Parthenope, a siren found cast up
drowned on the shores of Naples.
Nobody was really sure what
Parthenope was or could say for
certain where she came from. Yet
there she was, a fact despite her
mysterious origins. I am grateful
to Paul Andrews, a taxonomist at
Taronga Zoo, for this wonderfully
romantic classification. It is from
$7,000–10,000
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here that SO2 gets its common
name; the Siren Mole. The Siren
Mole (SO2) is an animal designed
for genetic engineering. The
work deals directly with the
implications of contemporary
genetic technologies, but does
so in a complex and ambiguous
way. Because the creature is
an animal, rather than a human
being, it allows audiences to
address genetic issues without
the heightened emotions that
the idea of human cloning and
manipulation evokes. Through
the Siren Mole I am interested in
asking questions such as ‘why
would you create new life?’ and
‘where would it belong?’ The
Siren Mole is a mythical creature,
not because it is unreal but in
the sense of it figuring social
forces, as does any good myth.
The truth is that it is becoming
very easy to believe in Siren
Moles. It is increasingly difficult to
disbelieve anything that we see
or hear about. Zoologists who
have examined the Siren Mole
have often commented on its
vulnerability.
Heavy head, pale hairless skin
and short, frail limbs put it in
danger from both predators and
the elements. I have created an
animal that needs to be looked
after, an animal in fact that cries
out to be protected. Siren Moles
come pre-domesticated, their
very existence is predicated on
their symbiotic relationship with
us. To my mind the fatal flaw that
condemns Doctor Frankenstein in
Mary Shelley’s story is not hubris.
It is not that he has sought to,
or even succeeded in, creating
life from nothing but his own
desire and reason. Frankenstein’s
mistake is that having done this
he does not take responsibility
for his creation. Having brought
his creature into the world he
should also be liable for its life
here. He was not a good parent.
The Siren Moles have been seen
in the past roaming about in a
variety of urban habitats, always
in proximity to and interacting
with people. In this series, I
wanted to show them in their
natural habitat, the laboratory. I
was keen to examine the Siren
Moles interacting with their
closest evolutionary partner,
scientists.
Artist Statement for the Series
Protein Lattice, 1997
For a moment in late 1995 an
image appeared in the world
media that has stayed in my
mind and in the minds of a huge
number of other people who
saw it. Perhaps it does not float
on the surface, but if questioned
most of the people I know would
be able to recall the mouse with
the human ear on its back.
[…]
The ear was constructed as
follows: The cartilage cells were
taken from the boy, the skin and
blood supplied by the rat. At
this point I might ask a simple
question in regards to the organic
matter that was transplanted
from rat to boy: To what species
did it belong? And further, was
the rat still a rat, or the boy
still a human? Where does the
contribution of one species end
and the other’s begin. Perhaps
this rhetoric is getting a little
grandiose... In reality, the rat
was merely a container, an
empty organic vessel, a fleshly
constituted mechanical process
in a technological activity.
[…]
It is also ironic that, when I went
to research Protein Lattice,
despite a long and careful search
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of the resources available via
the Internet, I was not able to
find a single image of the rat
with a human ear on its back.
I found plenty of information
on the scientific and economic
potential of tissue engineering
but no pictures of the tragic
little rat and its disproportionate
burden. My only physical record
of the rat with a human ear on its
back is a tiny clipping from Time
magazine and a tomato sauce
stained article in an old copy of
Arena that I found at my local
cafe. The fact is that if you want
to sell a technology like tissue
engineering you need to focus on
the something a little more ‘up’
than mutant rodents.“ Patricia
Piccinini 1997
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FRANK JEFFREY EDSON
SMART (1921-2013)
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PATRICIA PICCININI
(BORN 1965)
Panel Work 9, 2002, ‘Forest’
ABS plastic and automotive
paint
Provenance
$18,000–25,000
Panel Work 9 comprises a series
of moulded plastic segments
spray-painted in various shades
of metallic-green duco.
“Panel Work explicitly uncouples
the car as material, functioning
machine from the car as sign - as
emblematic of speed, success,
sexual prowess, control, physical
enhancement - and presents us
with nothing but surface to fulfill
our needs.”
Jacqueline Millner 2000
Excerpt from Plastic Life
exhibition catalogue
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ROSEMARY LAING
(BORN 1959)
Lockheed SR-71 Blackbird,
from the series Skunkworks
(1998-1999)
type C photo
edition 1/3
image size approx. 120cm high
x 264cm wide
Provenance
Gitte Weiss Gallery, Sydney
$5,000–8,000
Rosemary Laing was born in
Brisbane, in 1959. Trained as
a painter, Laing has explored
conceptually based photography
and performance since the 1980s.
She is internationally recognised
as a leader in the field of
concept-based photo media.
She has presented solo
exhibitions at several museums,
including the Museum of
Contemporary Art, Sydney. Since
the early 1990s she has presented
work in numerous curated
museum exhibitions worldwide,
and has participated in various
biennials, including the Biennale
of Sydney (2008), Venice
Biennale (2007). Her work is
held in national and international
museum collections.
The Last Train, 1989
hand coloured lithograph
edition 30/65
image size 49cm high x
49cm wide
signed, titled, numbered and
dated 89 in pencil to margin
inscribed to verso AG FO
7603 TW REF 8542A
Provenance
Australian Galleries, 1991 (Holy
Family School Fundraiser)
$4,000–6,000
Jeffrey Smart was born in 1921
in Adelaide, studied at the South
Australian School of Art between
1937 and 1941 and later at the
Academie Montmartre in Paris
with painter Fernand Leger.
Smart was a drawing teacher
at the National Art school,
Sydney in 1962 and 1963, before
relocating to Italy where he
worked and spent the rest of
his life. Smart is known for his
precise urban landscapes. He
is a master of the urban vision,
seeing beauty in the landscapes
of modernism, his works
feature industrial wastelands
and concrete streetscapes with
precise attention to clean lines,
composition and geometry.
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TRACEY MOFFATT
(BORN 1960)
Invocations 8, from the series
Invocations (2000)
photo silkscreen
edition 42/60
signed, titled, numbered
and dated 2000 in pencil to
margin
image size 126 x 102cm
Provenance
Roslyn Oxley9 Gallery
$5,000–8,000
Born in Brisbane in 1960,
Tracey Moffatt studied visual
communications at the
Queensland College of Art, from
which she graduated in 1982.
Since her first solo exhibition
at the Australian Centre for
Photography in Sydney in 1989,
Moffatt, as a filmmaker as well as
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photographer, has held around
100 solo exhibitions of her work
in Europe, the United States and
Australia. Her films, including
‘Nightcries – A rural tragedy’,
1990, and ‘Bedevil’, 1993, have
been screened at the Cannes Film
Festival, the Dia Centre for the
Arts in New York and the National
Centre for Photography in Paris.
Highly regarded for her formal
and stylistic experimentation
in film, photography and
video, Tracey Moffatt is one of
Australia’s leading contemporary
artists. She now lives and
works in New York. Moffatt’s
photographs often reference the
history of art and photography,
as well as her own childhood
memories and fantasies and
explore issues of race, gender,
sexuality and identity.
The series ‘Invocations’ 2001 took
two years to realise: one year
in the studio in New York with
sets and models constructing
and shooting each scene, and
one year working with printer
Gene Licht in order to create
the necessary effect and results.
Between 15 and 25 silkscreens
were used in order to build up
richly textured surfaces which
enhance the illusions set up
within each frame. The subtlety
of colour, tone and depth is
seductive and brings into play
additional references to painting
as well as printmaking.
The larger works draw on film
references from Hitchcock’s
‘The Birds’, to ‘Mandingo’ as
much as they do on the Spanish
artist Goya. The nature of fear
and horror, obsession, passion,
fight and flight - these extremes
of emotion are all played out
through the figures of the man
and woman with ghostly spirits
or their manifestations in other
forms looking on.
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TRACEY MOFFATT
(BORN 1960)
Invocations 5, from the series
Invocations (2000)
photo silkscreen
edition 42/60
signed, titled, numbered
and dated 2002 in pencil to
margin
102cm wide
Provenance
$5,000–8,000
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TRACEY MOFFATT
(BORN 1960)
TRACEY MOFFATT
(BORN 1960)
TRACEY MOFFATT
(BORN 1960)
ROBERT EDWARD
KLIPPEL (1920-2001)
Laudanum, #12, 1998
photogravure on rag paper
edition 19/60
signed, tilted, numbered and
plate size 29 x 65cm
Laudanum, #7, 1998
edition 19/60
plate size 36cm high x
49cm wide
Something More #1, from the
series Something More (1989)
cibachrome photograph
artist’s proof
Opus 314, 1976
brazed steel, geometric
sections, founds objects
35cm high
Provenance
$40,000–60,000
$2,000–4,000
The photographic series
‘Something More’ (1989) presents
a rich fragmented narrative with
suggestive images of violence,
glamour, and disappointed
dreams. Originally exhibited
in 1989 as part of Moffatt’s
first solo exhibition which was
held at the Australian Centre
for Photography, Sydney, the
series has since been included in
numerous significant exhibitions
both in Australia and abroad. It is
the first of Moffatt’s photographic
series which demonstrates all of
the elements that have made her
work so acclaimed: its theatrical
staginess, its references to film,
art and photographic history,
issues of race and gender, the
ambiguity of the characters.
Moffatt sets up staged tableau
images which have a narrative
thread but in which many stories
are being told.
Tracey Moffatt photograph
Something More #1 is featured
in the book Tracey Moffatt, City
Gallery Wellington, ed Paula
Savage and Lara Strongman,
as are one work each from
the Laudanum series and the
Invocations series.
Provenance
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$2,000–4,000
Tracey Moffatt photogravure
Laudanum #3 was featured in
the monograph Tracey Moffatt
17-December 2003 - 29 February
2003, Museum of Contemporary
Art, Sydney.
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Tracey Moffatt’s ‘Laudanum’ series
(1998) comprising 19 images, is an
elaborate play which operates on
many levels: there are references to
film (especially Murnau’s ‘Nosferatu’
1922); to the 19th century when
women used the opiate based
laudanum as a calmative despite
its undoubted addictive and
hallucinatory effects; and to the
history of photography itself
through the use of photogravure.
In making ‘Laudanum’, Moffatt
shot the series at Elizabeth Bay
House, Sydney and at a Georgian
farm house north of Sydney. The
negatives were then digitally remastered before being manually
printed.
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TRACEY MOFFATT
(BORN 1960)
Laudanum, #4, 1998
edition 19/60
plate size 29cm high x
65.5cm wide
Provenance
$2,000–4,000
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TRACEY MOFFATT
(BORN 1960)
Laudanum, #2 1998
edition 19/60
plate size 49 x 36cm (image
oval)
Provenance
$2,000–4,000
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TRACEY MOFFATT
(BORN 1960)
Laudanum, #3, 1998
edition 19/60
plate size 47 x 48cm
Provenance
$2,000–4,000
Provenance
Provenance
Sotheby’s 2/10/94
Estate of Mervin Horton
Private collection
$20,000–30,000
from which he made sculptural
assemblages from the disparate
elements. In the 1980’s he began
working with wooden foundry
patterns and used them to cast
a group of imposing bronzes for
the Australian National Gallery’s
Sculpture Garden. It also resulted
in a prodigious series of painted
wooden sculptures.
Robert Klippel’s Opus 314 (1976)
was featured and pictured in
James Gleeson’s book Klippel,
published in 1983.
Robert Klippel was one of
Australia’s pre-eminent sculptors.
As early as 1964, art critic Robert
Hughes called Klippel “one of the
few Australian sculptors worthy
of international attention”.
His work is represented in the
majority of Australian public
institutions, in particular the
National Gallery of Australia and
the Art Gallery of New South
Wales both have comprehensive
collections of his sculptures,
drawings and collages.
As a child he showed aptitude
for constructing objects – model
ships in particular. He attended
night classes in sculpture at
East Sydney Technical College
under Lyndon Dadswell.
He moved to England in the
mid 1940’s where he became
life-long friend and collaborator
with Australian surrealist painter
James Gleeson. He also spent
time in Paris, acquainting
himself with Picasso’s works of
the constructivist period and
also with Andre Breton and the
French Surrealists.
He returned to Australia for a
few years and then emigrated
in the United States. That is
when he moved away from a
more traditional sculpture and
began to incorporate in his works
machine parts, pieces of wood
and various discarded industrial
materials. He began casting wax
and plastic parts into bronze
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ROBERT MACPHERSON
(BORN 1937)
ROBERT MACPHERSON
(BORN 1937)
A Cumulos Cloud (sic), from
the series 555 Frog Poems by
Robert Pene
charcoal drawing on paper
signed Robert Pene,
St Joseph’s Convent
29.25cm high x 31cm wide
The Seting Sun(sic), from the
series 555 Frog Poems by
Robert Pene
charcoal drawing on paper
signed Robert Pene,
St Joseph’s Convent
Provenance
Art Gallery of New South
Wales Annual Contemporary
Collection Benefactors (CCB)
auction, donated by Roslyn
Oxley9 Gallery
Provenance
Oxley9 Gallery
$3,500–5,500
$3,500–5,500
Robert MacPherson was born
in 1937 in Brisbane. Inspired
by the American Abstract
Expressionism, he began his
artistic career by experimenting
with colour field painting. He first
exhibited his work in 1973 and
has exhibited regularly since then
throughout Australia. His practice
operates in the spaces between
language and image, high and
low art, the sacred and profane.
The two drawings by MacPherson
in this collection belong to a
prolific series of drawings, 555
Frog Poems, which pretend to be
the work of Robert Pene, a grade
IV student at St Joseph Convent
and ripped from a schoolboy’s
notebook with merit stamps
visible. It is a kind of alter ego for
MacPherson who, like Pene was
also convent educated.
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PAUL ANTHONY WRIGLEY
(BORN 1973)
Untitled (Riot), 2005
acrylic on canvas
signed, titled and dated 2005
to verso
Provenance
Gallery Barry Keldoulis
$2,500–3,500
Paul Wrigley is from Brisbane. He
featured in a number of solo and
group exhibitions in Australia.
He’s also won some impressive art
prizes including the 2004 John
McCaughey Memorial Painting
Prize from the National Gallery
of Victoria, and the 2007 Linden/
Melbourne Airport Innovators
Award.
“Wrigley’s work takes the
photographic/painterly relationship
full cycle. His work looks like a
photographic reproduction of a
painting of a photograph – a fusion
of photographic document and
painterly ecstasy.”
Excerpt from “Paul Wrigley:
Painting Ecstasy” exhibition
catalogue at the Gallery Barry
Keldoulis, Sydney written by Sarah
Stratton, June 2003
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ROBERT EDWARD KLIPPEL
(1920-2001)
RK951, 1998
painted wood sculpture
initialed RK, numbered 951 and
dated 98
80cm high, 28cm diameter
Provenance
Watters Gallery, Sydney
$15,000–20,000
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PAUL ANTHONY
WRIGLEY (BORN 1973)
DAVID GRIGGS
(BORN 1975)
Now Everything’s Ruined,
2004
acrylic on rayon
to verso
Renewing the Spirits No 9,
2006
acrylic on canvas
signed and dated 2006 to
verso
Provenance
Gallery Barry Keldoulis,
Sydney
Provenance
Kaliman Gallery, Sydney
$5,000–8,000
$10,000–15,000
Paul Wrigley’s painting, Now
Everything’s Ruined (2004), was
lent to the Campbelltown Art
Gallery, NSW for its exhibition
“Ctown Bling” from 30 June
2005- 28 August 2005.
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PAUL ANTHONY
WRIGLEY (BORN 1973)
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Untitled (Macquarie Fields),
2005
acrylic on canvas
to verso
David Griggs was born in Sydney
in 1975. At the age of 18 he
worked for an underground
newspaper, photographing
poverty in North India and Nepal.
He has travelled extensively and
his travels have been a source of
inspiration. His paintings focus on
the human condition. His projects
engage with political imagery,
underground media, conspiracy
theories, local crime histories and
personal experiences.
Griggs has exhibited extensively
around Australia. He works and
lives in Manila, Philippines.
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Provenance
Gallery Barry Keldoulis
JANET LAURENCE
(BORN 1947)
$2,500–3,500
Memory Space, 2006
shinkolite acrylic
edition of 10/24
initialled and dated 2006
(forms part of her major work
In Stance of Memory, part of
the Art Gallery of New South
Wales’ collection)
Paul Wrigley’s 2005 paintings,
Untitled (Riot) and Untitled
(Macquarie Fields) were lent to
The Cross Art Projects, Sydney,
for its exhibition “Riotous
Suburbs”, curated by Jo Holder,
from 9 June to 7 July 2007.
Provenance
acquired by donation to Art
Gallery of New South Wales
2006
$1,500–2,500
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Janet Laurence was born in
Sydney in 1947. She is best known
for her site-specific installations
that extend from the museum or
gallery space into the natural world,
exploring notions of art, science,
imagination, memory and loss.
She has ranged across painting,
sculpture, photography, installation,
working with pigments and ash,
scientific instruments and all
manner of glass.
In Stance Of Memory (Garden of
the Jewish Museum, Berlin), 2005
“The Garden is already a layered
space – its aesthetic and natural
qualities often veil its symbolic
meanings or reveal them as
reflective spaces. I consistently
returned to the garden as an
immersive and symbolic space
for my concerns combining the
exploration of memory and the
memorial.
Spaces of reflection, that also
engage perceptually and sensually;
spaces that enable a passage, both
metaphorically and within time.
Spaces that are constructed and
natural, that grow and die and
bloom again creating a sense of
dissolve and collapse. As a space of
transformation in the way memory
shifts and recreates itself and
persists. Its past is always in the
present.
This work INSTANCE OF MEMORY
takes the Garden of the Jewish
Museum – the Hoffmanngarten
– and juxtaposes materiality and
illusion. Photographic images
emerge and disperse and bleed
away. In red glazed pours over
stainless and rusted steel I’m
attempting to explore the shift
between the reflective perceptual
space into a space of memory and
a psychological reflection, a play
between movement and stasis.
The architectural structures of
the 49 columns of this seemingly
solid space become fluid and
transparent; the leaf laden pathways
disappear into darkness; the whole
space becomes fugitive.”
Janet Laurence
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many paintings, beauty can be
found in such formal elements as
his use of colours, the ways paint
is applied to canvas, how people,
words and things are arranged on
the monochromatic backgrounds.
The pathos of his subject matter
also has a form of abject beauty,
the beauty of the decayed and
coming apart, of a humanity
that is to be found in failed
endeavours, misunderstandings
and missed connections.”
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ADAM CULLEN
(1965-2012)
My Special New Bed, 2002
acrylic on canvas
signed titled and dated 2002
to verso
183cm high x 91.5cm wide
Provenance
Yuill Crowley Gallery, Sydney
$8,000–12,000
Adam Cullen’s paintings My
Special New Bed, 2002 and New
South Welshman (Uncle Roy),
2003 are featured and pictured in
Ingrid Perez’s book ‘Adam Cullen:
Scars Last Longer’
Cullen’s 2002 painting My
Special New Bed featured in the
exhibition ‘Adam Cullen; Let’s Get
Lost’ at the Art Gallery of New
South Wales, curated by Wayne
Tunnicliffe in 2008, and pictured
in the book of the exhibition.
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FIONA MARGARET HALL
(BORN 1953)
Ear Shot, 2002
pair of beaded ears with bath
plugs
each ear approx. 13 x 9cm
on Perspex base 20cm x 15cm
Provenance
Oxley9 Gallery
$5,000–8,000
Fiona Hall was born in Oatley
NSW in 1953. During high school
she decided upon a career in art.
She studied at the East Sydney
Technical School (ESTS) for a
Diploma of painting and then
turned to photography. During
the 1980’s her work evolved by
using a diverse range of art forms
including sculpture, painting,
installation design and video.
Fiona Hall transforms everyday
ordinary objects to address
a range of contemporary
issues such as globalization,
consumption, politics,
environment, nature and the
body.
Her work is represented in
every major public art collection
in Australia and she exhibits
regularly nationally and
internationally.
The piece Ear Shot, 2002 belongs
to a series of works ‘Understorey’
(1999-2004). Fiona Hall used
glass beads threaded onto wire
to create three-dimensional
objects depicting elements of
plant and human material. The
use of camouflage patterning
aptly depicts the juxtaposition
of nature and the conflicts over
territory threatening it. The
beads, an emblem of trade and
colonisation, are one of the
artist’s signature materials.
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ADAM CULLEN
(1965-2012)
Uncle Roy, 2003
acrylic on canvas
signed, titled and dated 03 to
verso
Provenance
Yuill Crowley Gallery, Sydney
$15,000–20,000
Adam Cullen was born in
Sydney in 1965. He completed a
Bachelor of Fine Arts in Sydney
in 1986 and since then produced
paintings, ceramics, videos,
three-dimensional objects he
called ‘instalments’ and etchings,
and a large number of drawings.
He first gained recognition in
the art world when he chained
a decomposing pig’s head to
his ankle for two weeks. Cullen
turned to portrait painting in
1997 when he began entering
the Archibald Prize at the Art
Gallery of New South Wales. He
eventually won the prestigious
prize in 2000 with his portrait
of actor David Wenham and
portraits became an important
part of his practice.
Of his work Wayne Tunnicliffe
(who curated Cullen’s ‘Let’s get
Lost’) says “Cullen’s paintings
are raw, aggressive and angry
with, at times, a narcotic
intensity. They are also empathic,
melancholic and expressive. In
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JOHN ANTHONY (TONY)
TUCKSON (1921-1973)
Savode
oil wash and pencil on paper
76cm high x 101.5cm wide
Exhibited
Woman and Flowers, Watters
Gallery, Sydney Woman and
Flowers , cat no 10 - TD432A
$8,000–12,000
Tony Tuckson was born in Egypt
in 1921. He studied art in England
and later in Sydney after World
War II when he migrated to
Australia. He studied at the East
Sydney Technical College for
three years and began exhibiting
with the Society of Artists and
the Contemporary Art Society
of Australia. In 1950, he was
appointed assistant director
of the National Art Gallery of
New South Wales. He helped
to shift Australia’s perception
of Aboriginal art which had
been exhibited in natural history
museums from an ethnographic
point of view and gave it the
status of fine art. He was also
responsible for introducing
Melanesian art to the gallery’s
collection.
Drawing was a fundamental
practice in Tuckson’s oeuvre
which consists of over 10,000
drawings and about 450
paintings. Tim Fisher wrote in the
introduction to Tony Tuckson’s
exhibition at the National Gallery
of Australia: “His drawings in
pencil, charcoal, ink, watercolour,
gouache and mixed media, on
whatever paper, newspaper,
cartridge paper, cardboard
or exhibition invitation the
artist had to hand, form both
a comprehensive repository
of Tuckson’s artistic life and a
record of the exploratory role
that drawing played in his art.
Often, radical pictorial ideas are
initiated and developed through
the swift repetition of a series of
drawings. These are not studies
so much as spatial and textural
primers, where the marks are like
shadows around light, rising and
falling, swelling into the paper
space, engaging torn edges or
retreating into a fugitive almostlegible writing.”
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JOHN ANTHONY (TONY)
TUCKSON (1921-1973)
JOHN ANTHONY (TONY)
TUCKSON (1921-1973)
JOHN ANTHONY (TONY)
TUCKSON (1921-1973)
JOHN ANTHONY (TONY)
TUCKSON (1921-1973)
Untitled
pencil on paper
paper size 10cm high x
15cm wide
numbered 35/25/735
Untitled
pencil on paper
paper size 10.5cm high x
16.5cm wide
numbered 89/25/751
Untitled
pencil on paper
14cm wide
numbered 89/25/777
Untitled
pencil on paper
15.25cm wide
numbered 89/25/790
Provenance
Watters Gallery
Provenance
Watters Gallery
Provenance
Watters Gallery, 23/5/95
Provenance
Watters Gallery, 23/5/95
$800–1,200
$800–1,200
$800–1,200
$800–1,200
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LIONEL BAWDEN
(BORN 1974)
Untitled (Green Arabesque
Tower), 2003
Staedtler pencils, epoxy resin
and linseed oil
48.5cm high, 18.5cm wide and
5cm deep
Provenance
GrantPirrie Gallery, Sydney
$6,000–9,000
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SELINA OU (BORN 1977)
Hotel Security, Changchun,
China 2003
chromogenic photograph
edition 1/10
Provenance
$2,500–3,500
Selina Ou is an Australian
photographer based in
Melbourne. She was born in
Malaysia and grew up in Australia.
She studied at the Victorian
College of the Arts and holds a
Bachelor of fine art with Honours.
Her early work explored mainly
white Australian stereotypes
- tram drivers, sales assistants
and firemen - while more recent
work, such as the 2003 series in
Chanchung, China, (from which
the two works in the auction are
drawn) and her work in Japan,
37
examines similar stereotypes in
an Asian context: soldiers, police
and athletes.
“To come at things visible again,
to look at Ou’s photographs:
what is apparent? There is a
familiar documentary aesthetic
of course yet there is also a form
of social analysis at work. […]
Like Simryn Gill’s 2001 series,
Dalam, Ou’s images reveal how
these people live: their things and
the arrangement of things; their
clothes and “dress”; their bodies
and gestures or “carriage”, and
the sometimes quite classical
compositions that play out
through the poses that Ou has
captured and re-placed in the
scenes. This amounts to an
incredibly layered and complex
anthropology.”
Excerpts from Selina Ou Beside
myself 2010 written by Lily
Hibberd
Lionel Bawden was born in
Sydney in 1974. He completed
a Bachelor of Visual Arts
with Honours in the painting
department at The Australian
National University, Canberra
School of Art in 1997. He works
in sculpture, performance,
installation and painting. His
core practice exploits hexagonal
coloured pencils as a sculptural
material, reconfigured and carved
into amorphous shapes. Staedler
is a generous sponsor of Lionel
Bawden’s sculptural practice.
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SELINA OU (BORN 1977)
SIMRYN GILL
(BORN 1959)
Restroom Attendants,
Changchun, China 2003
chromogenic photograph
edition 1/10
Provenance
$2,500–3,500
A Small Town at the Turn of
the Century 5, 1999-2000
edition 3/5
type C photograph
90cm wide
Provenance
Exhibited
29 March -21 April 2001
$3,000–5,000
Simrym Gill was born in 1959
in Singapore, raised in Malaysia
and educated in India and in
England. She lives and works in
Sydney and Malaysia. She works
across sculpture, photography,
drawing and writing. Simryn
represents Australia this year
at the 55th Venice Biennale (1st
June-24th November 2014) with
her installation: Here Art Grows
on Trees.
‘A small town at the turn of the
century’ 1999-2000 is a series
of 39 photographs taken by Gill
in Port Dickson in Malaysia, the
town where she grew up. The
photographs were taken at a
significant moment: the turn from
the twentieth to the twenty-first
century. The images capture local
people in local places, however
each scene takes on a surreal and
humorous twist – Gill has covered
each of her subjects’ heads with
tropical fruit. Watermelons,
bunches of bananas and
pineapples become substitutes
for heads.
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GUAN WEI (CHINESE
BORN 1957)
TIMOTHY (TIM) MAGUIRE
(BORN 1958)
Star Gazing, 2000
acrylic on canvas
signed, titled and dated to
verso and initialled lower right
127.5cm high x 49.5cm wide
(single panel)
Study for Chisenhale
Installation I, 1992, from the
exhibition Canal
watercolour on paper
Provenance
auction, donated Sherman
Galleries
$5,000–8,000
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LYNDELL BROWN
(BORN 1961) & CHARLES
DOUGLAS GREEN
(BORN 1953)
Island, 2002
digital light jet photograph on
duraclear film
edition 1/5
image size approx. 95cm high
x 95cm wide
Provenance
28/6/02
$3,000–5,000
Since 1989 Melbourne based
artists Lyndell Brown and
Charles Green have worked
in collaboration. Their work
represents worlds that throw
into confusion the boundaries
between past and present, fact
and fiction. The artists recreate
images from different cultural
periods and context using
together photography, painting
and digital reproduction.
They have held many solo
exhibitions, and are represented
in most major Australian
collections. In early 2007 they
were Australian Official Artists,
working on location for the
Australian War Memorial with the
Australian Defense forces in Iraq,
Afghanistan and the Gulf.
The work Island is representative
of their practice, the central
image is of an astronaut and he
shares the moonscape with two
other images: one is from Jean
Luc Godard’s film Le Mepris,
the other is of an 18th century
etching of a Chinese Garden.
The artists are fascinated by the
process of collecting, sorting and
archiving and by the implied
relationship between memory
and image.
Guan Wei was born in Beijing
China in 1957. He came to
Australia for the first time in 1989,
three years after graduating
from the Department of Fine
Arts at Beijing Capital University,
where he received a very
traditional artistic education,
painting systematically from
Impressionism to Postmodernism.
From there he developed his
own personal style. During
these early years in Australia his
paintings underwent obvious
stylistic changes. His colour
palette evolved, his forms
became increasingly graphic
and simplified, and Australian
animals and western icons were
incorporated into his search for
a unique visual language that
would combine his Chinese
cultural background with his new
home. He now lives and works in
both Beijing and Sydney.
He has been included
in numerous important
contemporary exhibitions in
Australia and overseas, his work
is held in major public Australian
and International collections.
Provenance
Exhibited
Chisenhale Gallery, London
1992
$1,500–2,500
Tim Maguire was born in
Chertsey, England, and received
his postgraduate degree at the
Sydney College of Arts, Australia
(1984). He has exhibited widely
both within Australia and in
Europe.
Canal, Chisenhale Gallery
29 July-30 August 1992
“This exhibition is based on a
series of five large paintings,
oils on canvas. Its title, Canal,
is at once straightforward –
referring to its inspiration and an
immediate geographical context
– and oblique, as it conflates
notions of man-made and natural
phenomena. […]
Canal literally refers to the
Hertford Union Canal, which
branches off the Grand Union
Canal system and runs alongside
Chisenhale Gallery. Inaccessible
and not visible from inside the
gallery, it exists immediately
behind the long wall on which
the series is hung. […]Hung at
regular intervals, the paintings
are bisected vertically by a
band of high-keyed colour, thus
suggesting casements and a
penetration of the wall. The band
is easily seen as an aperture,
through which light emanates,
and the smooth finish of the
paintings, reminiscent of glazing,
only serves to reinforce the
metaphor.
Equally, the paintings might be
read as aerial views, or maps.
The vertical bands, in fields of
gently modulated colour, have
the straightness of canals – rivers,
being natural things, never do –
signifying the difference made by
human invention.”
Excerpt from Jonathan Watkins’
essay about the exhibition
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TIMOTHY (TIM) MAGUIRE
(BORN 1958)
Study for Chisenhale
Installation II, 1992, from the
exhibition Canal
watercolour on paper
Provenance
Exhibited
Chisenhale Gallery, London
1992
$1,500–2,500
END OF SALE
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passport if you have not previously purchased with Mossgreen
Lot Number
in order
Catalogue Description
A$
A$
A$
It is the bidder’s responsibility to
check with Mossgreen staff whether
a saleroom notice relates to any lot
which they have listed. Bidders in the
room will be informed of saleroom
notices by the auctioneer at the
commencement of the auction.
A$
A$
A$
A$
If you are an International Bidder who
has not previously purchased with
Mossgreen please note that a deposit
may be requested in cleared funds
prior to the auction date to enable your
registration to be confirmed. A clear
copy of your photo identification, as
listed above is also required.
Mossgreen will also accept credit card
payments for the initial deposit (Visa,
Mastercard or American Express)
however the remaining balance in
excess of $5,000 must be paid via
Funds Transfer as Mossgreen does not
accept credit card payments for goods
when the card holder is not present to
sign. This deposit is refunded within
48 hours should you not be successful.
Mossgreen does not bear the exchange
rate risk in any circumstances.
Cover bid
Not including the buyer’s premium
or GST (where applicable)
A$
A$
A$
A$
A$
A$
A$
Please print or type
I authorise Mossgreen to register bids on a per lot basis up to the maximum price I have indicated for each lot.
I will not hold Mossgreen responsible for any errors that occur. I have noted the ‘Conditions of Sale’ as printed
in the auction catalogue and agree to be bound by them.
I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s
premium of 22% of the final bid price plus any GST payable on the hammer price, as indicated in the
catalogue. GST will be charged on the buyer’s premium. If the Resale Royalty Scheme is applicable 5% will be
charged on the hammer price only. The Resale Royalty Scheme is denoted by the § symbol in the catalogue
and online at www.mossgreen.com.au
I have read and accept Mossgreen’s terms and conditions as printed in the catalogue and online at
Date
Signature
Date
IMPORTANT
Telephone bid forms must be received
at least 24 hours before the sale
begins.
Mossgreen bears no responsibility for
any errors which occur due to late
instructions. Mossgreen will endeavour
to confirm bids received either by
fax or by telephone. If you have not
received our confirmation within
one business day, please contact
Mossgreen.
It is the bidder’s responsibility to
check with Mossgreen staff whether
a saleroom notice relates to any lot
which they have listed. Bidders in the
room will be informed of saleroom
notices by the auctioneer at the
commencement of the auction.
If you are an International Bidder who
has not previously purchased with
Mossgreen please note that a deposit
may be requested in cleared funds
prior to the auction date to enable your
registration to be confirmed. A clear
copy of your photo identification, as
listed above is also required.
Mossgreen will also accept credit card
payments for the initial deposit (Visa,
Mastercard or American Express)
however the remaining balance in
excess of $5,000 must be paid via
Funds Transfer as Mossgreen does not
accept credit card payments for goods
when the card holder is not present to
sign. This deposit is refunded within
48 hours should you not be successful.
Mossgreen does not bear the exchange
rate risk in any circumstances.
32
33
PAYMENT FORM
t
f
e
w
+61 3 9508 8888
+61 3 9508 8899
[email protected]
Mossgreen subscribers will receive up to 15 mailed catalogues per year*, covering auctions,
gallery exhibitions and our by design exhibitions as well as invitations to our VIP previews.
MA127
If paying by direct deposit, please Fax or email to [email protected] this form along with
your internet banking receipt
CATALOGUE SUBSCRIPTION FORM
The GoRdon ellioTT
ColleCTion of ConTempoRARY
AuSTRAliAn ART
Tuesday 5 April, 2011
Name
Balance owing for purchases: $
Tamworth, 8–9 May 2011
553 745 133
Bank:
Bank of Melbourne
SWIFT Code
SGBLAU2S
Individual catalogues available for $15 within Australia upon request
Please fax details to:
+61 3 9508 8899
* based on 2012 – actual number may vary
310 Toorak Road, South Yarra
Victoria, 3141 Australia
03 9826 0822
Sunday,
23 October 2011
I WISH TO SUBSCRIBE TO MOSSGREEN CATALOGUES/PUBLICATIONS & RECEIVE VIP
INVITATIONS TO EVENTS. PLEASE CHARGE MY CREDIT CARD AS BELOW, DEPOSIT
PAYMENT AS ENCLOSED OR RECEIVE FUNDS BY DIRECT DEPOSIT TO MOSSGREEN
ACCOUNT.
The eSTATe of Ann LewiS Ao
Account Number:
november/December, 2011
MA133
333 047
ImpoRTAnT ChIneSe ART & The SpRIng AuCTIon SeRIeS
BSB Number:
Important
ChInese art
& the sprIng
auCtIon
serIes
03 9826 0822
The AuTumn AucTion SeRieS
Mossgreen Pty Ltd
under instructions from Leo Schofield Am
MA129
Account Name:
The ConTenTs of
DysarT house,
KempTon, Tasmania
MA134
Alternatively you may prefer to sign up to our free online subscriptions by registering your email
address online at www.mossgreen.com.au or returning this form indicating your email address
so we can register you. You will receive all Mossgreen events notifications and links to fully
illustrated online catalogues well before printed catalogues are available.
PLEASE REGISTER ME FOR ONLINE NEWSLETTERS AND CATALOGUE LINKS
The Roy
FRancis
Ryan
collecTion
03 9826 0822
03 9826 0822
The ConTenTS of DYSART houSe, KempTon, TASmAniA
BANK ACCOUNT DEPOSIT DETAILS:
ANNUAL CATALOGUE/MAIL SUBSCRIPTION PLUS POSTAGE AND HANDLING
(INTERNATIONAL) $295.00 INC GST
MA132
Email address for confirmation:
The RoY FRAnciS RYAn collecTion
Buyer Number
ANNUAL CATALOGUE/MAIL SUBSCRIPTION PLUS POSTAGE & HANDLING
(WITHIN AUSTRALIA) $149.95 INC GST
03 9826 0822
03 9826 0822
The esTaTe of ann Lewis ao
The AuTumn AucTion SerieS
Amount of deposit: $
CLIENT DETAILS
Name/Company
DIRECT DEPOSIT
DETAILS:
INTERNATIONAL BUYERS
Address
Account Name:
Mossgreen Pty Ltd
International buyers not previously registered with Mossgreen will be required to transfer a AUD$500 deposit in cleared funds to Mossgreen
account in order to be able to bid at this auction. These funds must be cleared in Mossgreen account 24 hours prior to the Auctions start.
State
Date paid:
IMPORTANT PAYMENT INFORMATION
•
Personal or company cheques are not accepted unless prior arrangement has been made with Mossgreen.
•
Where payment is made by transfer of funds, goods will be available for collection upon confirmation of funds cleared in our account.
•
BSB No: 333 047
Post Code
Account No: 553 745 133
Bank: Bank of Melbourne
Country
SWIFT Code: SGBLAU2S
Telephone 1
Fax
Credit Card payments will be accepted for Visa and Mastercard with a 2.2% surcharge and American Express with a 3.3% surcharge.
Telephone 2
Mobile
•
Please note that credit card payments will not be accepted over the telephone. Mossgreen also reserves the right to request
additional forms of identification before processing any credit card transaction in person.
Email
•
Accredited identification will be required from all potential purchasers that are not known to Mossgreen, prior to registration.
WHEN COMPLETE:
Please fax to:
03 9508 8899
Or post to:
Armadale, Victoria,
Australia 3143
PAYMENT DETAILS
IMPORTANT COLLECTION INFORMATION
Payments & Collection
Payments & Collections can be made at: 926–930 High Street, Armadale, VIC 3143
Monday 11 November
Tuesday 12 November
Wednesday 13 November
Sydney, Monday 7 november, 2011
melbourne, 31 may & 14/15 June 2011
10am–5pm
10am–5pm
10am–5pm
All goods must be collected and paid for before 5pm on Wednesday 13 November to avoid removal and storage charges.
Direct Deposit
Cheque
Credit Card (Visa/Mastercard/AMEX only)
Cardholders Name
Card Number
Card Expiry date
M M
/
Y
Y
CCV Number (the last three digits above your signature on the reverse of your card)
Signature of Cardholder
t
f
e
w
+61 3 9508 8888
+61 3 9508 8899
[email protected]
34
35
Terms and Conditions of Sale
The terms and conditions of sale listed here contain the
policies of Mossgreen Pty Ltd. They are the terms on
which Mossgreen Pty Ltd and the Seller contract with
the Buyer. They may be amended by printed Saleroom
Notices or oral announcements made before and during
the sale. By bidding at auction you agree to be bound by
these terms.
1. Background to the Terms used in
these Conditions
The conditions that are listed below contain terms that
are used regularly and may need explanation. They are
as follows:
“the Buyer” means the person with the highest bid
accepted by the Auctioneer
“the Lot” means any item depicted within the sale for
auction and in particular the item or items described
against any lot number in the catalogue.
“the Hammer price” means the amount of the highest bid
accepted by the auctioneer in relation to a lot
“the Buyers Premium” means the charge payable by
the Buyer to the auction house as a percentage of the
hammer price.
“the Reserve” means the lowest amount at which
Mossgreen has agreed with the Seller that the lot can be
sold.
“Forgery” means an item constituting an imitation
originally conceived and executed as a whole, with
a fraudulent intention to deceive as to authorship,
origin, age, period, culture or source, where the correct
description as to such matters is not reflected by the
description in the catalogue. Accordingly no lot shall be
capable of being a forgery by reason of any damage or
restoration work of any kind (Including re-painting).
“the insured value” means the amount that Mossgreen in
its absolute discretion from time to time shall consider
the value for which a lot should be covered for insurance
(whether or not insurance is arranged by Mossgreen.)
All values expressed in Mossgreen Pty Ltd catalogues
(in any format) are in Australian Dollars (AU$). All bids,
“hammer price”, “reserves”, “Buyers Premium” and other
expressions of value are understood by all parties to be in
Australian Dollars (AU$) unless otherwise specified.
2. Mossgreen Auctions as Agent
Except as otherwise stated Mossgreen Pty Ltd acts as
agent for the Seller.
The contract for the sale of the property is therefore
made between the Seller and the Buyer.
F) TELEPHONE BIDS
3. Before the Sale
4. At the Sale
A) EXAMINATION OF PROPERTY
A) REFUSAL OF ADMISSION
Prospective Buyers are strongly advised to examine
in person any property in which they are interested
before the Auction takes place. Neither Mossgreen
nor the Seller provides any guarantee in relation to
the nature of the property apart from the Limited
warranty in the paragraph below.
The property is otherwise sold “AS IS”
B) CATALOGUE AND OTHER DESCRIPTIONS
All statements by Mossgreen in the catalogue entry
for the property or in the condition report, or made
orally or in writing elsewhere, are statements of
opinion and are not to be relied upon as statements
of fact. Such statements do not constitute a
representation, warranty or assumption of liability by
Mossgreen of any kind. References in the catalogue
entry to the condition report to damage or restoration
are for guidance only and should be evaluated by
personal inspection by the bidder or a knowledgeable
representative. The absence of such a reference
does not imply that an item is free from defects or
restoration, nor does a reference to particular defects
imply the absence of any others. Estimates of the
selling price should not be relied on as a statement
that this is the price at which the item will sell or it’s
value for any other purpose. Neither Mossgreen nor
The Seller is responsible for any errors or omissions in
the catalogue or any supplemental material.
Images are measured height by width (sight size).
Illustrations are provided only as a guide and should
not be relied upon as a true representation of colour or
condition. Images are not shown at a standard scale.
An item bought “on Extension” must be paid for
in full before it will be released to the purchaser or
his/her agreed expertising committee or specialist.
Payments received for such items will be held
“in trust” for up to 90 days or earlier, if the issue
of authenticity has been resolved more quickly.
Extensions must be requested before the auction.
Foreign buyers should note that all transactions
are in Australian dollars so there may be a small
exchange rate risk. The costs associated with
acquiring a good certificate will be carried by the
purchaser. If the item turns out to be forged or
otherwise incorrectly described, all reasonable costs
will be borne by the vendor.
C) BUYERS RESPONSIBILITY
All property is sold “as is” without representation
or warranty of any kind by Mossgreen or the Seller.
Buyers are responsible for satisfying themselves
concerning the condition of the property and the
matters referred to in the catalogue by requesting a
condition report
No lot to be rejected if, subsequent to the sale,
it has been immersed in liquid or treated by any
other process unless the Auctioneer’s permission to
subject the lot to such immersion or treatment has
first been obtained in writing.
Priority will be given to overseas and interstate
bidders. Please refer to the catalogue for the
Telephone Bids form. Arrangements for this service
must be confirmed AT LEAST 24 HOURS PRIOR to
the auction commencing. Mossgreen accepts no
responsibility whatsoever for any errors or failure
to execute bids. In telephone bidding the buyer
agrees to be bound by all terms and conditions
listed here and accepts that Mossgreen cannot
be held responsible for any mis-communications
in the process. The success of telephone bidding
cannot be guaranteed due to circumstances that
are unforeseen. Buyers should be aware of the risk
and accept the consequences should contact be
unsuccessful at the time of Auction. You must advise
Mossgreen of the lots in question and you will be
assumed to be a buyer at the minimum price of 75%
of estimate (ie. reserve) for all such lots. Mossgreen
will advise Telephone Bidders who have registered
at least 24 hours before the auction of any relevant
changes to descriptions, withdrawals or any other
sale room notices.
Mossgreen reserves the right at our complete
discretion to refuse admission to the auction
premises or participation in any auction and to reject
any bid.
B) REGISTRATION BEFORE BIDDING
Any prospective new buyer must complete and sign
a registration form and provide photo-identification
before bidding. Mossgreen may request bank, trade
or other financial references to substantiate this
registration.
C) BIDDING AS A PRINCIPAL
When making a bid, a bidder is accepting personal
liability to pay the purchase price including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Mossgreen before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Mossgreen and that Mossgreen will
only look to the principal for payment.
G) ONLINE BIDDING
Mossgreen offers an online bidding service. When
bidding online the buyer agrees to be bound by all
terms and conditions listed here by Mossgreen.
Mossgreen accepts no responsibility for any
errors, failure to execute bids or any other
miscommunications regarding this process. It is the
online bidder’s responsibility to ensure the accuracy
of the relevant information regarding bids, lot
numbers and contact details.
D) INTERNATIONAL REGISTRATIONS
All International clients not known to Mossgreen will
be required to scan or fax through an accredited
form of photo identification and pay a deposit at
our discretion in cleared funds into Mossgreen’s
account at least 24 hours before the commencement
of the auction. Bids will not be accepted without
this deposit. Mossgreen also reserves the right to
request any additional forms of identification prior to
registering an overseas bid.
H) RESERVES
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the Lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. The auctioneer may open
the bidding on any Lot below the reserve by placing
a bid on behalf of the Seller. The auctioneer may
continue to bid on behalf of seller up to the amount
of the reserve, either by placing consecutive bids or
by placing bids in response to other bidders.
This deposit can be made using a credit card,
however the balance of any purchase price in excess
of $5,000 can not be charged to this card without
prior arrangement.
This deposit is redeemable against any auction
purchase.
I)
E) ABSENTEE BIDS
Mossgreen will use reasonable efforts to execute
written bids delivered to us AT LEAST 24 Hours
before the sale for the convenience of those clients
who are unable to attend the auction in person. If we
receive identical written bids on a particular lot, and
at the auction these are the highest bids on that lot,
then the lot will be sold to the person whose written
bid was received and accepted first. Execution of
written bids is a free service undertaken subject to
other commitments at the time of the sale and we
do not accept liability for failing to execute a written
bid or for errors or omissions which may arise. It is
the bidder’s responsibility to check with Mossgreen
after the auction if they were successful. Unlimited
or “Buy” bids will not be accepted.
AUCTIONEERS DISCRETION
The Auctioneer has the right at his absolute and sole
discretion to refuse any bid, to advance the bidding
in such a manner as he may decide, to withdraw or
divide any lot, to combine any two or more lots and,
in the case or error or dispute and whether during
or after the sale, to determine the successful bidder,
to continue the bidding, to cancel the sale or to
reoffer and resell the item in dispute. If any dispute
arises after the sale, then Mossgreen’s sale record is
conclusive.
J)
SUCCESSFUL BID AND PASSING OF RISK
Subject to the auctioneer’s discretion, the highest
bidder accepted by the auctioneer will be the buyer
and the striking of his hammer marks the acceptance
of the highest bid and the conclusion of a contract
for sale between the Seller and the Buyer. Risk and
responsibility for the lot (including frames or glass
where relevant) passes immediately to the Buyer.
K) INDICATIVE BIDDING STEPS, ETC.
Mossgreen reserves the right to refuse any bid,
withdraw any lot from sale, to place a reserve on
any lot and to advance the bidding according to the
following:
Increment Amount
Dollar Range
$5
$0–$100
$10
$100–$200
$20
$200–$500
$25
$500–$750
$50
$750–$1,500
$100
$1,500–$3,000
$250
$3,000–$5,000
$500
$5,000–$15,000
$1,000
$15,000–$25,000
$2,500
$25,000–$50,000
$5,000
$50,000–$150,000
$10,000
$150,000–$500,000
$20,000
$500,000 +
5. After the Sale
A) BUYERS PREMIUM
In addition to the hammer price, the buyer agrees to
pay to Mossgreen the buyers premium. The buyer’s
premium is 22% of the hammer price plus GST.
(Goods and Services Tax) where applicable.
B) PAYMENT AND PASSING OF TITLE
The buyer must pay the full amount due (comprising
the hammer price, buyers premium and any
applicable taxes and GST) not later than 5 days after
the auction date.
The buyer will not acquire title for the lot until
Mossgreen receives full payment in cleared funds,
and no goods under any circumstances will be
released without confirmation of cleared funds
received. This applies even if the buyer wishes to
send items interstate or overseas.
Payment can be made by direct transfer, cash (not
exceeding $10,000AUD, if wishing to pay more than
$10,000AUD then this must be deposited directly into
a Bank of Melbourne / St George branch and bank
receipt supplied) and Eftpos (please check the daily
limit). Payments can also be made by credit card in
person with a 2% (+ GST) merchant fee for Visa and
Mastercard and 3% (+ GST) for American Express.
Invoices that are in excess of $5,000 and where the
card holder is not present, can not be charged to
a credit card without prior arrangement. Personal
cheques are accepted, but funds must be cleared
before goods will be released. Bank cheques are
subject to three days clearance.
The buyer is responsible for any bank fees and
charges applicable for the transfer of funds into
Mossgreen’s account
C) COLLECTION OF PURCHASES & INSURANCE
Mossgreen is entitled to retain items sold until all
amounts due to us have been received in full in good
cleared funds. Subject to this, the Buyer shall collect
purchased lots within 5 days from the date of the
sale unless otherwise agreed in writing between
Mossgreen and the Buyer.
At the fall of the hammer, insurance is the
responsibility of the purchaser.
D) PACKING, HANDLING AND SHIPPING
Mossgreen will be able to suggest removals
companies that the buyer can use but takes no
responsibility whatsoever for the actions of any
recommended third party. Mossgreen can pack
and handle goods purchased at the auction
by agreement and a charge will made for this
service. All packing, shipping, insurance, postage &
associated charges will be borne by the purchaser.
E) CULTURAL HERITAGE EXPORT LICENCES
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make full
payment immediately, nor our right to charge
interest or storage charges on late payment. It is the
Buyer’s responsibility to check Australia’s Protection
of Moveable Cultural Heritage Act 1986 before
purchase. If the Buyer requests Mossgreen to apply
for an export licence then we shall be entitled to
charge a fee for this service. We shall not be obliged
to rescind a sale nor to refund any interest or other
expenses incurred by the Buyer where payment is
made by the Buyer in circumstances where an export
licence is not granted.
F) REMEDIES FOR NON-PAYMENT
If the Buyer fails to make full payment immediately,
Mossgreen is entitled to exercise one or more of the
following rights or remedies (in addition to asserting
any other rights or remedies available under the law)
i)
to charge interest at such a rate as we shall
reasonably decide
ii)
to hold the defaulting Buyer liable for the total
amount due and to commence legal proceedings
for it’s recovery along with interest, legal fees
and costs to the fullest extent permitted under
applicable law
iii) to cancel the sale
iv) to resell the property publicly or privately on
such terms as we see fit
v)
to pay the Seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting Buyer. In these circumstances
the defaulting Buyer can have no claim upon
Mossgreen in the event that the item(s) are sold
for an amount greater than the original invoiced
amount.
vi) to set off against any amounts which Mossgreen
may owe the Buyer in any other transactions, the
outstanding amount remaining unpaid by the
Buyer.
vii) where several amounts are owed by the Buyer to
us, in respect of different transactions, to apply
any amount paid to discharge any amount owed
in respect of any particular transaction, whether
or not the Buyer so directs.
viii) to reject at any future auction any bids made by
or on behalf of the Buyer or to obtain a deposit
from the Buyer prior to accepting any bids.
ix) to exercise all the rights and remedies of a
person holding security over any property in our
possession owned by the Buyer whether by way
36
of pledge, security interest or in any other way, to
the fullest extent permitted by the law of the place
where such property is located. The Buyer will be
deemed to have been granted such security to
us and we may retain such property as collateral
security for such Buyer’s obligations to us.
x)
to take such other action as Mossgreen deem
necessary or appropriate
If we do sell the property under paragraph
(iv), then the defaulting Buyer shall be liable
for payment of any deficiency between the
total amount originally due to us and the price
obtained upon reselling as well as for all costs,
expenses, damages, legal fees and commissions
and premiums of whatever kinds associated with
both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph
(v) the Buyer acknowledges that Mossgreen shall
have all of the rights of the Seller, however arising, to
pursue the Buyer for such amount.
G) FAILURE TO COLLECT PURCHASES
Where purchases are not collected within 48 hours
from the sale date, whether or not payment has
been made, we shall be permitted to remove the
property to a warehouse at the buyer’s expense, and
only release the items after payment in full has been
made of removal, storage handling, insurance and
any other costs incurred, together with payment of
all other amounts due to us.
6. Extent of Mossgreen Liability
Mossgreen agrees to refund the purchase price in
the circumstances of the Limited Warranty set out in
paragraph 7 below. Apart from that, neither the Seller nor
we, nor any of our employees or agents are responsible
for the correctness of any statement of whatever kind
concerning any lot, whether written or oral, nor for any
other errors or omissions in description or for any faults
or defects in any lots. Except as stated in paragraph 7
below, neither the Seller ourselves, our officers, agents
or employees give any representation warranty or
guarantee or assume any liability of any kind in respect
of any lot with regard to merchantability, fitness for a
particular purpose, description, size, quality, condition,
attribution, authenticity, rarity, importance, medium,
provenance, exhibition history, literature or historical
relevance. Except as required by local law any warranty
of any kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this paragraph,
the Seller warrants for the period of thirty days from
the date of the sale that any property described in this
catalogue (noting such description may be amended by
any saleroom notice or announcement) which is stated
without qualification to be the work of a named author
or authorship is authentic and not a forgery. The term
“Author” or “authorship” refers to the creator of the
property or to the period, culture, source, or origin as the
case may be, with which the creation of such property is
identified in the catalogue.
The warranty is subject to the following:
i)
it does not apply where a) the catalogue description
or saleroom notice corresponded to the generally
ii)
accepted opinion of scholars and experts at the date
of the sale or fairly indicated that there was a conflict
of opinions, or b) correct identification of a lot can be
demonstrated only by means of a scientific process
not generally accepted for use until after publication
of the catalogue or a process which at the date of
the publication of the catalogue was unreasonably
expensive or impractical or likely to have caused
damage to the property.
12. Sale results
the benefits of the warranty are not assignable and
shall apply only to the original buyer of the lot as
shown on the invoice originally issued by Mossgreen
when the lot was sold at Auction.
In accordance with A New Tax System (Goods and
Services Tax) Act 1999 Mossgreen Auctions will collect
on behalf of the Australian tax office (ATO) a Goods and
Service Tax (GST) of 10% on all applicable transactions.
iii) the Original Buyer must have remained the owner of
the lot without disposing of any interest in it to any
third party
iv) The Buyer’s sole and exclusive remedy against the
Seller in place of any other remedy which might be
available, is the cancellation of the sale and the refund
of the original purchase price paid for the lot less the
buyers premium which is non refundable. Neither the
Seller nor Mossgreen will be liable for any special,
incidental nor consequential damages including,
without limitation, loss of profits not for interest.
v)
The Buyer must give written notice of claim to us
within thirty days of the date of the Auction. The
Seller shall have the right, to require the Buyer to
obtain two written opinions by recognised experts
in the field, mutually acceptable to the Buyer and
Mossgreen to decide whether or not to cancel the
sale under warranty.
vi) the Buyer must return the lot to Seller in the same
condition that it was purchased.
8. Severability
If any part of these Conditions of Sale is found by any court
to be invalid, illegal or unenforceable, that part shall be
discounted and the rest of the Conditions shall continue to
be valid to the fullest extent permitted by law.
9. Copyright
Mossgreen will provide auction results, which will be
available as soon as possible after the sale. Results will
include buyer’s premium. These results will be posted at
www.mossgreen.com.au.
13. Goods and Service Tax
GST is applicable on the hammer price in the case where
the seller is selling property that is owned by an entity
registered for GST. GST is also applicable on the hammer
price in the case where the seller is not an Australian
resident. These lots are denoted by a dagger symbol †
placed next to the estimate.
GST is also applicable on the buyer’s premium.
Overseas buyers and buyers non-resident in Australia
will not be charged GST on both hammer price and
premiums under the following conditions:
1.
The items are exported through a Mossgreen
approved freight company including Australia Post
2.
The items are exported within 60 days of the date of
the sale
The invoice supplied by Mossgreen for purchases will be
regarded as a Tax invoice for GST purposes.
14. Resale Royalty Scheme
Under the legal obligations of the Resale Royalty Scheme
for Visual Artists Act 2009, sellers must provide the
following information to comply with the act:
•
was the artwork acquired after 8 June 2010?
•
is the sale/reserve price (including GST) $1,000 or
more?
•
is the artist from Australia or a country listed in the
Regulations to the Act?
•
is the artist alive, or deceased less than 70 years?
The copyright of all images, illustrations and written
material produced by Mossgreen relating to a lot including
the contents of this catalogue, is and shall remain the
property at all times of Mossgreen and shall not be used
by the Buyer, nor by anyone else without our prior written
consent. Mossgreen and the Seller make no representation
or warranty that the Buyer of a property will acquire any
copyright or other reproduction rights in it.
The seller:
10. Law and Jurisdiction
iii) undertakes to indemnify the company for any loss
incurred by the company as a result of the vendor’s
failure to comply with any of the vendor’s legal
obligations under the Act; and
These terms and conditions and any matters concerned
with the foregoing fall within the exclusive jurisdiction of
the courts of the state in which the auction is held.
11. Pre-Sale Estimates
Mossgreen publishes with each catalogue our opinion as
to the estimated price range for each lot. These estimates
are approximate prices only and are not intended to be
definitive. They are prepared well in advance of the sale
and may be subject to revision. Interested parties should
contact Mossgreen prior to auction for updated pre-sale
estimates and starting prices.
i)
acknowledges that he or she understands his or her
legal obligations under the Resale Royalty for Visual
Artists Act 2009 (the Act);
ii)
undertakes to comply with all requirements of the
Act, including by providing its agent, the company,
with accurate information sufficient for compliance
with sections 28 and 29 of the Act;
iv) acknowledges that if he or she fails to comply with
any of his or her legal obligations under the Act,
the company may provide the vendor’s name and
contact details to Copyright Agency Limited (CAL).
Lots subject to payment of the Resale Royalty Scheme
will be denoted by the §. The Australian Resale Royalty
is a flat rate of 5% on the hammer price (including GST).
The Australian Resale Royalty is payable by the buyer in
addition to the buyers premium plus any applicable GST.

the michèle asprey collection of australian

Transcription

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